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First up is a remix I did of a friend's song. He is releasing his first instrumental album soon (usually does really beautiful piano work) and has asked me to do remixes of all the tracks as a bonus download after *finally* listening to the first remix I did, From The Cosmos. As usual with my remixes, I took it in a completely different direction that's more original than remix, but I can't help it.

Second up is a liquidish drum and bass track that I spent a good chunk of time on.

And lastly (should have done the previous song as the last one, huh), another liquid D&B track that I didn't spend half the time I spent on the prior song.

These might seem repetitive like most of my songs, but I make my music for myself first. So I like to repeat parts I like and the length doesn't bother me. If this is why I never make it anywhere with music, that's okay with me. I make what I want to hear, not what other people want.

With that said, I really enjoy feedback too though. Mastering tips, what you personally liked or didn't like, and general opinions are always nice to read. (And yes, they all 3 use the same kick/snare. I was really proud of them. I've been trying to get a sound like this together for a long time.)

These and all my other D&B songs that I've done this year will be a free download on December 1st on my bandcamp and website (which isn't ready yet), if anyone wants them. I figured doing a yearly compilation album just to get my stuff out there would be better than trying to put together a standard album, since focusing on a polished/cohesive track listing seems to be my downfall.

The lead on At Last, Clarity is actually a really simple synth line that doesn't have a lot going on.This is the lead solo'd out, with both the regular and the time stretched version (for the half time drum part at the end). The first 5s is the lead regularly. You can hear it's really just a few note hits without sustain on. After 5s it plays how it sounds in the song, which was duplicating the lead and reversing it to fill it out a little more. Same for the time stretched part. It plays the original lead time stretched, then it plays again with the reversed lead. I didn't do any kind of compression on it to cause any ducking or anything, it's just kinda how it sounds regularly.

The bass is a bit soft because I wanted to have it there, but not overpower the song. It's suppose to be a liquid track that's something a bit more relaxing, and having too big a sub I feel would detract from that.

As for Time Stands Still, the idea was that you are trapped in a moment. When something happens and time seems to slow down around you, it feels like you are there forever, even if it's only be a few seconds, or a minute, or whatever. I wanted to try and emulate that feeling by making the song a bit repetitive while subtly adding in sounds (such as the trumpets when the chorus loops around. The vocal hit was added once per 16 bars just to mix it up a little so it's not as repetitive as it could have been. Just added flavor, really. And yes, this song is very wet. Everything is apart from the drums and mid bass, so I can definitely understand why it sounds off to you.

The "crickets" is a fx build that has probably too much of an effect called "fade to grey" applied to it. It adds reverb and echo and can really make higher frequencies hurt when overused. It sounded find to me, but I can easily lower the DB on it or tone down the effect for the comp album.

I'm really glad you enjoyed At Last, Clarity! I worked really hard on it as I thought I had something good going, and I haven't but that much effort into a song in a long time. Glad it shows And thanks for the critique, I always love your breakdowns.